Result of the research : 'rite'
David Norden http://users.telenet.be/african-shop/kerchache.htm
In a crucial moment for the world of Tribal Arts, Ana &Antonio Casanovas from Arte y Ritual and Alain Bovis Gallery present two consecutive exhibitions in Paris with a selection of masterworks from the Kerchache collection:
1.”HOMMAGE” June 16-July 22 2006 2. “NIGERIA” September 13th –October 20th 2006
“HOMAGE TO JACQUES KERCHACHE”
WHY?
The Quai Branly
We want to pay an HOMAGE to Jacques Kerchache and , in his name, give support to an important historical event : the opening of the Quai Branly,one of the most important museums in the world dedicated entirely to “les Arts Premiers”. Jacques was first appointed to asses the selection of art works for the “Pavillion des Sessions” in the Louvre Museum which was conceived as an antennae of the Quai Branly.He had a crucial role in the creation of this innovative museum and was an important member of the Acquisition Committee.
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es Statues Also Die is a French documentary short film directed by Chris Marker, Alain Resnais and Ghislain Cloquet released in 1953. Artistic Advisor: Charles Ratton.
It was sponsored by the Pan-African journal Presence Africaine. Starting from the question "Why art negro is there at the Museum of Man while Greek or Egyptian art is the Louvre? ', Both filmmakers denounced the lack of consideration for African art in a context of colonization. The film was censored in France for eight years because of his views anti-colonialist.
"When men are dead, they make history. When the statues are dead, they enter into art. This Botanical death is what we call culture.
Because the people of the statues is mortal. One day, our stony faces break down in turn. A civilization is leaving behind traces such as mutilated stones of Tom Thumb, but history has eaten everything. An object is dead when the living gaze which rested on him has disappeared, and when we lost our items will go where we send those negroes in the museum.
Art negro. We look as if it was his purpose in the pleasure it gives us. The intentions of the negro who created the emotions of the negro who looks at it, it eludes us. Because they are written into the woods, we take their ideas for statues, and we find the picturesque where a member of the black community sees the face of a culture.
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P R E F A C E
In one of the chaos of rocks the most amazing of Africa, has a population of farmer-warriors who was one of the last of the French domain to lose its independence.
For most whites in West Africa, the Dogon are dangerous men, if not the most backward of the Federation. Ilspassent to practice human sacrifice and even to defend themselves better against all the outside influences that they live a difficult country. Some writers have told their small fears when supposedly daring excursions. From these legends and the pretext of revolts often due to misunderstandings, it has sometimes taken in exile of entire villages.
In short, the Dogon represent one of the finest examples of primitive savage and this opinion is shared by some black Muslims who, intellectually, are not better equipped than whites to appreciate those of their fellow faithful to ancestral traditions. Only officials who have assumed the heavy task of administering these men have learned to love them.
The author of this book and its many teammates attend the Dogon past fifteen years. They published the work of these men who are now the people's best-known French Sudan: The Souls of the Dogon (G. Dieterlen, 1941), The Currency (S. OF GANAY 1941), Masks (M. Griaule, 1938) have brought to scholarly evidence that blacks lived on complex ideas, but ordered, on systems of institutions and rituals where nothing is left to chance or whim. This work, already ten years ago, drew
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Amedeo Clemente Modigliani (July 12, 1884
– January 24, 1920) was an Italian artist of Jewish heritage, practicing both
painting and sculpture, who pursued his career for the most part in France.
Modigliani was born in Livorno (historically referred to in English as Leghorn), in
northwestern Italy and began his artistic studies in Italy before moving to
Paris in 1906. Influenced by the artists in his circle of friends and
associates, by a range of genres and art movements, and by primitive
art, Modigliani's œuvre was nonetheless unique and idiosyncratic.
He died in Paris of tubercular meningitis, exacerbated by
poverty, overworking, and an excessive use of alcohol and narcotics, at the age
of 35. Early lifeAmedeo Modigliani was born into a Jewish family
at Livorno, in Tuscany.
Livorno was still a relatively new city, by Italian standards, in the late 19th
century. The Livorno that Modigliani knew was a bustling centre of commerce
focused upon seafaring and shipwrighting, but its cultural history lay in being
a refuge for those persecuted for their religion. His own maternal
great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to
Livorno in the eighteenth century as a religious refugee. Modigliani was the fourth child of Flaminio
Modigliani and his wife, Eugenia Garsin. His father was in the money-changing
business, but when the business went bankrupt, the family lived in dire
poverty. In fact, Amedeo's birth saved the family from certain ruin, as,
according to an ancient law, creditors could not seize the bed of a pregnant
woman or a mother
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Henri Matisse (31 December 1869 – 3 November 1954) was a French artist, known for his use of colour and his fluid, brilliant and original draughtsmanship. As a draughtsman, printmaker, and sculptor, but principally as a painter, Matisse is one of the best-known artists of the 20th century. Although he was initially labeled as a Fauve (wild beast), by the 1920s, he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art. Early life and education Born Henri-Émile-Benoît Matisse in Le Cateau-Cambrésis, Nord-Pas-de-Calais, France, he grew up in Bohain-en-Vermandois in Northeastern France, where his parents owned a seed business. He was their first son. In 1887 he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, when his mother had brought him art supplies during a period of convalescence following an attack of appendicitis. He discovered "a kind of paradise" as he later described it, and decided to become an artist, deeply disappointing his father. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau and Gustave Moreau. Initially he painted still-lifes and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Chardin was one of Matisse's most admired painters;as an art student he made copies of four Chardin paintings in the Louvre.In 1896 he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle
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The Quai Branly museum is set on quai
Branly in the 7th district of Paris, where was located the Foreign Exchange
Market Department. Ambitious project led by Jacques Chirac (passionated by « primitive
art ») and realised by Jean Nouvel, it has been unveiled the 20th of June
2006. History Jacques Kerchache, art seller and african art expert, tried from the
begining of the 1990’s to bring the « primitive arts » into the
Louvre museum. In 1990 he signed in the newpaper Libération an article on this
topic ; the same year he met Jacques Chirac, then mayor of Paris. The latter is elected president of the Republic in 1995. As soon as he
arrived at the head of the State, he askes for the opening of a primitive art department
at the Louvre museum. One year later he announced the project of creation of a
new museum, which quickly meet an opposition, especially with a strike of the personnal of the Man
museum in 1999, to stand in the way of the disassembly of the museum’s
collections and criticize the primacy of the aesthetic choice instead of the
scientific factors. An architecture competition is sent out in 1999, designating Jean Nouvel as
the architect. This museum is unveiled the 20th of June 2006 by Jacques
Chirac, in the presence of Kofi Annan, Rigoberta Menchú, Paul Okalik, Dominique
de Villepin, Lionel Jospin and Jean-Pierre Raffarin. The Quai Branly museum has
the status of public administratove institution. It’s placed under the guardianship
of the Department of Culture and
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Anne-Louise Amanieu
Ecole du Louvre
Specialty Arts of Africa
December 2007
Fang mask society Ngil, Gabon, Pavilion des Sessions at the Louvre
IDENTIFICATION
Fang mask the Pavillon des Sessions consists partly of wood covered with kaolin and measure about 70 cm high. It dates from the late nineteenth century or early twentieth. Listed under the inventory number 65-104-1, it comes from the former collection of André Lefèvre and was acquired in 1965 by the Museum of Man.
DESCRIPTION
This great helmet mask represents a stylized human face, whose face and elongated heart-shaped and slightly concave is shared by a long thin nose. On the top of the forehead develops a studded headband for attaching ornaments and who bears a ridge with extension to the front leads by three strokes for joining the nasal bridge and deployed above the eyebrows. The C-shaped ears stand out in high relief on both sides of the face, as the eyes and mouth, they are barely mentioned by simple incisions highlighted by thin slits etched tattoos that recall that arborist and the Fang Ntoumou Mvai by Günter Tessmann.
ANALYSIS
The mask of Ngil (NGI) exists only among the Fang, the people established the Sanaga River (southern Cameroon) Ogooué River (northern Gabon) and in Equatorial Guinea after a period of migration to the eighteenth and
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Tristan Tzara (born Samuel or Samy
Rosenstock, also known as S. Samyro; April 4 or April 16, 1896 –
December 25, 1963) was a Romanian and Frenchavant-garde poet, essayist and performance
artist. Also active as a journalist, playwright, literary and art critic,
composer and film director, he was known best for being one of the founders and
central figures of the anti-establishmentDada movement. Under
the influence of Adrian Maniu, the adolescent
Tzara became interested in Symbolism and co-founded the magazine Simbolulwith Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel
Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland.
There, Tzara's shows at the Cabaret Voltaire and Zunfthaus zur Waag, as well as his poetry and art
manifestos, became a main feature of early Dadaism. His work represented
Dada's nihilisticside, in contrast with the more moderate approach favored by Hugo Ball. After moving to Paris in 1919, Tzara, by then one of the "presidents of
Dada", joined the staff of Littérature magazine, which
marked the first step in the movement's evolution toward Surrealism.
He was involved in the major polemics which led to Dada's split, defending his
principles against André Breton and Francis
Picabia, and, in Romania, against the eclecticmodernism of
Vinea and Janco. This personal vision on art defined his Dadaist plays The Gas
Heart (1921) and Handkerchief of Clouds (1924). A
forerunner of automatist techniques, Tzara eventually
rallied with Breton's Surrealism, and, under its influence, wrote his
celebrated utopianpoem The Approximate Man. During the final part of his career, Tzara combined his humanist and anti-fascistperspective with a
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african art / art africain / primitive art / art primitif / arts
premiers / art gallery / art tribal / tribal art / l'oeil et la main /
galerie d'art premier / Agalom / Armand Auxiètre /
www.african-paris.com / www.agalom.com
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Arman (November 17, 1928 – October 22, 2005), was a French-born Americanartist.Born Armand Pierre Fernandez in Nice, France, Arman is
a painter who moved from using the objects as paintbrushes ("allures
d'objet") to using them as the painting itself. He is best known for his
"accumulations" and destruction/recomposition of objects. BiographyArman's father, Antonio Fernandez, an antiques dealer in Nice, was also an
amateur artist and photographer, as well as a cellist. From his father, Arman
learned oil
painting and photography. After receiving his bachelor's degree in
philosophy and mathematics in 1946, Arman began studying at the Ecole Nationale
d'Art Decoratif in Nice. He also began learning Judo at a police Judo
School in Nice where he met the artists Yves Kleinand Claude Pascal. The trio would
bond closely on a subsequent hitchhiking tour of the nations of Europe. Completing
his studies in 1949, Arman enrolled as a student at the École
du Louvre in Paris,
where he concentrated on the study of archaeology and oriental art. In 1951,
Arman became a teacher at the Bushido Kai Judo School. During this time he also
served in the French military, completing his tour of duty as a medical orderly
during the Indo-Chinese War. Early careerEarly in the development of his career, it was apparent that Arman's concept
of the accumulation of vast quantities of the same objects was to remain a
significant component of his art. Ironically, Arman had
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André Breton (February 19, 1896 – September 28, 1966) was a French
writer, poet, and surrealisttheorist, and is best known as the main founder of surrealism.
His writings include the Surrealist Manifesto of 1924, in which he defined
surrealism as pure psychic automatism. BiographyBorn to a family of modest means in Tinchebray(Orne) in Normandy, he
studied medicineand psychiatry.
During World War I he worked in a neurological ward in Nantes, where he
met the spiritual son of Alfred Jarry, Jacques
Vaché, whose anti-social attitude and disdain for established artistic
tradition influenced Breton considerably. Vaché committed suicide at age 24
and his war-time letters to Breton and others were published in a volume
entitled Lettres de guerre (1919), for which Breton
wrote four introductory essays. From Dada to SurrealismIn 1919 Breton founded the review Littérature with Louis
Aragon and Philippe Soupault. He also connected with DadaistTristan
Tzara. In 1924 he was instrumental to the founding of the Bureau of Surrealist Research. In The Magnetic Fields (Les Champs Magnétiques),
a collaboration with Soupault, he put the principle of automatic writing into practice. He published
the Surrealist Manifesto in 1924, and
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Pablo Diego José Francisco de Paula
Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Martyr Patricio Clito Ruíz y Picasso (25 October 1881 – 8 April 1973) was
an Andalusian-Spanishpainter, draughtsman,
and sculptor.
As one of the most recognized figures in twentieth-century art, he is best known for
co-founding the Cubistmovement and for the wide variety of styles embodied in his work. Among his
most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907) and
his depiction of the German bombing of Guernica during the Spanish Civil
War, Guernica (1937) Biography Picasso was baptized Pablo Diego José
Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima TrinidadClito, a series of names honouring various saints and relatives. Added to these
were Ruíz and Picasso, for his father and mother, respectively, as per Spanish
custom. Born in the city of Málaga in the
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André Derain (10 June 1880 – 8 September
1954) was a French painter and co-founder of Fauvism with Henri
Matisse.
Biography
André Derain was born in 1880
in Chatou, Yvelines, Île-de-France, just outside Paris. In 1898,
while studying to be an engineer at the Académie Camillo, he attended painting
classes under Eugène Carrière, and there met Matisse.
In 1900, he met and shared a studio with Maurice de Vlaminck and began to paint his
first landscapes.
His studies were interrupted from 1901 to 1904 when he was conscriptedinto the French army. Following his release from service, Matisse persuaded
Derain's parents to allow him to abandon his engineering career and devote
himself solely to painting; subsequently Derain attended the Académie
Julian.Derain and Matisse worked together through the summer of 1905 in the Mediterraneanvillage of Collioureand later that year displayed their highly innovative paintings at the Salon
d'Automne. The vivid, unnatural colors led the critic Louis
Vauxcelles to derisively dub their works as les Fauves,
or "the wild beasts", marking the start of the Fauvist movement.
In March 1906, the noted art dealer Ambroise
Vollard sent Derain to London to compose a series of paintings with the
city as subject. In 30 paintings (29 of which are still extant), Derain put
forth a
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Jean Paul Barbier-Mueller is a Swiss collector, born in Geneva in 1930. Biography
He has been under the influence of a passionnate father : poetry, philosophy,
musicor science (he got his PhD in biology at the age of 47).
After law studies in Geneva and London, he registers at the Bar and become
manager, at the age of 28, of a financial society. In 1960, he creates his own
society, the Private Society of Managment, specialized in the managment of the
housing stock and construction of social flats.
Collector as his father-in-law Josef Mueller, he goes in for « non-western »
arts. With his wife Monique, he creates in 1977 the Barbier-Mueller museum,
which organize more than seventy-five exhibitions, most of them attended with
importants catalogues, presenting the differents sections of the familial
collection, with the contribution of major european, american and asian
museums. He carries out or finances researches in Sumatra, in Ivory Coast and
Guinea. He’s one of the best expert of the Batak ethnic group, in the north of
Sumatra. In may 1997, the Barbier-Mueller precolombian art museum opens
opposite to the Picasso museum, in Barcelona. The town council offers a
long-time loan from the Nadal Palace to expose around 400 works of art from
Pre-Hispanic America. Jean Paul Barbier-Mueller is also a recognized specialist of the poetry and the
french history of the 16th century. Bibliophile since the age of 13, he has gathered
one of the most full library devoted to Ronsard and other authors of the Pléiade.
Entitled « Ma Bibliothèque poétique », the catalogue of this collection
count 7 volumes already published. Jean Paul Barbier-Mueller has also written
many articles for journals such as « Bibliothèque d’humanisme »,
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Jean Rouch (31 May1917 - 18 February2004) was a French filmmaker
and anthropologist. He began his long association with African subjects in
1941 after working as civil engineer supervising a construction project in Niger. However,
shortly afterwards he returned to France to participate in the Resistance.
After the war, he did a brief stint as a journalist with Agence France-Presse before returning to
Africa where he become an influential anthropologist and sometimes
controversial filmmaker. He is considered as one the pioneers of Nouvelle
Vague, of visual anthropology and the father of ethnofiction.
Rouch's films mostly belonged to the cinéma vérité school – a term that Edgar Morinused in a 1960 France-Observateur article referring to Dziga
Vertov's Kinopravda. His best known film, one of the central works of the
Nouvelle Vague, is Chronique d'un été (1961) which he filmed
with sociologist Edgar Morin and in which he portrays the social life of
contemporary France. Throughout his career, he used his camera to report on
life in Africa.
Over the course of five decades, he made almost 120 films. He died in an automobile accident in February
2004, some 16
kilometres from the town of Birnin N'Konni in central Niger. Main films- 1954: Les Maîtres Fous (The Mad
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Germaine
Dieterlen (1903-1999) was a French anthropologist.
She was a student of Marcel Mauss and wrote on a large range of ethnographictopics and made pioneering contributions to the study of myths, initiations,
techniques (particularly "descriptive ethnography"),
graphic systems, objects, classifications, ritual and social
structure. She is most noted for her work among the Dogon and the Bambaraof Mali, having
lived with them for over twenty years, often in collaboration with noted French
anthropologist Marcel Griaule (1898-1956). Themes
Some of the main themes in her work concentrate
on the notions of sacred kingship, the position of the first born, relationships between
maternal uncles and nephews, division
of labor, marriage,
and the status of the rainmaker in Dogon society. Because each episode of the
rite is enacted only once every sixty years, Dieterlen's documentation of the sigui cycle allowed the Dogon
themselves to see and interpret the entire sequence of rites which they had
heretofore only observed in part. Researches
Dieterlen began her ethnographic research in Bandiagara,
Mali in 1941. Perhaps most controversially, Dieterlen was criticized by her
peers for her publications with Griaule on Dogon astronomy,
which professed an ancient knowledge of the existence of a dwarf white star,Sirius Balso called the Dog
Star, invisible to the naked eye. This ancient
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Julien Michel
Leiris (April
20, 1901 in Paris – September
30, 1990 in
Saint-Hilaire, Essonne)
was a Frenchsurrealistwriter and ethnographer. BiographyMichel Leiris obtained his baccalauréat in
philosophy in 1918 and after a brief attempt at studying chemistry, he
developed a strong interest in jazz and poetry. Between 1921 and 1924, Leiris
met a number of important figures such as Max Jacob, Georges Henri Rivière, Jean
Dubuffet, Robert Despos, Georges
Bataille and the artist André
Masson, who soon became his mentor. Through Masson, Leiris became a member
of the Surrealistmovement, contributed to La Révolution surréaliste, published Simulacre(1925), and Le Point Cardinal (1927), and wrote a surrealist novel Aurora(1927-28; first published in 1946). In 1926, he married Louise Godon, the
step-daughter of Picasso's dealer Daniel-Henry Kahnweiler and traveled to
Egypt and Greece. Following a fall out with André
Breton in 1929, he joined Bataille’s team as a sub-editor for Documents, to which he also regularly
contributed articles such as “Notes on Two Microcosmic Figures of the 14th and
15th Centuries” (1929, issue 1), “In Connection with the ‘Musée des
Sorciers" (1929, issue 2), "Civilisation" (1929, issue 4), “The
‘Caput Mortuum’ or the Alchemist’s Wife” (1930, issue 8), and on artists such
as Giacometti,Miró, Picasso, and the
16th
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Art Gallery L'oeil et la Main
41, rue de Verneuil
75007 Paris
Tél.: +33 (0)6 61 12 97 26
contact@agalom.com
african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / Afrique / Africa / l'oeil et la main / galerie d'art premier / achat / vente / expertise / expert / exposition / exhibition / collection / collectionneur / Paris / oeuvre / Verneuil / antiquités / antiquaire / musée / museum / masque / mask / statue / sculpture / Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com
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The art gallery L'Oeil et
la Main, located in Paris, is essentially devoted to the primitive arts. To come at the gallery, an access map is available. If you wish to receive informations about the coming exhibitions, please leave us your email adress in the category subscription to the newsletter.
Opening hours of the gallery:
From Wednesday to Saturday
2pm - 7pm
To visualize a panorama of the gallery, click here.
For any information about a work of art : Tel. : +33 (0)1 42 61 54 10
african art / art africain / primitive art / art primitif / arts
premiers / art gallery / art tribal / tribal art / Afrique / Africa /
l'oeil et la main / galerie d'art premier / achat / vente / expertise /
expert / exposition / exhibition / collection / collectionneur / Paris
/ oeuvre / Verneuil / antiquités / antiquaire / musée / museum / masque
/ mask / statue / sculpture / Agalom / Armand Auxiètre /
www.african-paris.com / www.agalom.com
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